Neil Gibson delivers us a new, different sort of horror story with the first issue of Tabatha. The book didn’t strike me as anything too interesting from the get go. The reader would assume, due to the main character’s (Luke) ineptitude and clumsiness, that he was new to his job as a postman. There was too much of his day-to-day work life. The only thing we needed to know was that he was a postman and had been one for some time as he had paid close attention to the homes on his route. Other than that, the book could have actually started about midway through when the plan to burglarize certain homes from his route came to fruition. Luke’s criminal counterparts all seemed too nice and unbelievable as criminals. It was as if they were buddies in a book club club or TV show like “Friends”. They seemed too bubbly to be planning the work that they had intended to do after hours. The eventual point in the book where the characters begin their burglarizing is when the story starts to get interesting. After a few successful break-ins, they enter the home/warehouse of someone who may or may not work in a props and costume/creature design for films. suddenly (after having strict thieving rules about Jewelry, money and drugs), they become those bubbly, ineptitude like characters again. The would-be burglars were thrilled with distractions of movie props and clothing (which would make sense if the burglars were into Action movies and comics). What true burglar would be happy to walk into a warehouse with anything but diamonds and gold??? It was silly. There was a short, almost unnecessary, flat introduction of the title character, Tabatha, showing an almost illusive non importance to her being in the story at all. When the horrific twist plays into the situation it makes almost no impact. The book was wobbling on a comedy that had no punch, so by the time you’re supposed to be shocked – it just doesn’t work. In the end, we meet the antagonist. With an introduction so unnecessary and too soon in the story it’s a wonder how the thought even crossed the author’s mind. Overall there seems to be a lack of communication between the author Neil Gibson and artist Caspar Wijnigaard – the dialogue was clunky at best, and none of the conversations that the characters had with each other really matched whatever supposed emotion was behind them. Neil Gibson’s writing style isn’t necessarily wanting and Wijngaard’s artwork is certainly up to snuff, but I would have to say “Back to the drawing board for this one…for now.”